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1ANNUAL9 REPORT Rachelle Durkin in Tosca / Photo: Stephanie Do Rozario

Front: (L–R) Owen Willetts, Orpheus & Eurydice / Photo: Jade Ferguson Rachelle Durkin, Tosca / Photo: Stephanie Do Rozario Eva Kong, A Flowering Tree / Photo: Paul Blackmore Verdi’s Requiem as part of Bleach* Festival, HOTA Home of the Arts / Photo: Art-Work Agency 2019 SNAPSHOT HIGHLIGHTS & ACHIEVEMENTS 2019 was a year of great success and learning, built Based in Brisbane and engaging with communities across the entire state, upon a program that enabled new possibilities and Opera Queensland presents works of the highest quality to local, national and international audiences. much needed change. Everything we do at Opera Queensland celebrates and interrogates the Our commitment to introduce new audiences to the diversity and power of opera takes us into regional and remote communities across the state. Our annual main extraordinary energy that opera creates. One of our stage productions at the Queensland Performing Arts Centre (QPAC) are of the highest musical and theatrical standards. goals is to “Lead Change in Opera”. To do this we must live it in every facet of our work.

PATRICK NOLAN, ARTISTIC DIRECTOR & CEO

254,524 18,744 67% TOTAL REACH REGIONAL QUEENSLAND QUEENSLAND ELECTORATES REACH REACHED 265 ARTISTS AND ARTS 90% WORKERS EMPLOYED RATE THE ARTISTIC QUALITY OF PERFORMANCES AS GOOD OR $273,331 EXCELLENT OPERATING SURPLUS

02 03 Opera Queensland respectfully acknowledges the Traditional Owners and Custodians of the Lands on which we perform. We pay respect to their ancestors who came before them and to Elders past, present and emerging.

CONTENTS

Our Reach 07 Leading a Change in Opera 08 New Opera Workshop — NOW 2019 10 Project AR-ia 11 Orpheus & Eurydice 12 Collaborations 14 PURPOSE Nurturing and Growing Audiences 18 To make opera an integral part of Queensland life. Tosca 20 VISION Learning and Education 22 Artists 24 To enrich the lives of our diverse audience by creating Ensuring Financial and Operational Sustainability 26 thrilling opera with exceptional artists and partners, courageously supporting and advancing the art form. Message from the Chair 27 Message from the Executive Team 28 OUR VALUES Our Donors 30 RESPECT Thank you 31 Our culture is built upon our respect for our diverse Creating Pathways for Artists and Arts Workers 32 audiences, our partners and each other. A Flowering Tree 34 LISTENING New Works in Development 36 Our art is founded upon the need to listen carefully and understand deeply. Songs to Die For 38

COLLABORATION Community and Regional Engagement 39 We work openly with our partners, knowing strength is born Opera Queensland Board and Team 41 of the trust essential for successful relationships. Corporate Governance Statement 42 AMBITION Financial Report 44 We anticipate and respond to change and challenge Partnerships 46 ourselves to continually offer powerful experiences for our audiences, our partners and our artists.

04 05 183 254,524 OUR REACH TOTAL EVENTS TOTAL REACH A point of difference between Opera Queensland and some other Australian opera companies involves the delivery of our art form to regional areas of Queensland. 16 13,994 EMERITUS PROFESSOR DAVID SIDDLE, CHAIR, BOARD OF DIRECTORS MAIN STAGE MAIN STAGE AUDIENCE PERFORMANCES

Sydney, NSW Cairns 7,606 77 Innisfail LEARNING & Normanton Auckland, NZ LEARNING & EDUCATION REACH EDUCATION PERFORMANCES & Wellington NZ Ingham WORKSHOPS Christchurch, NZ Townsville

Julia Creek Mount Isa Hughenden Richmond 38 15,512 Mackay COMMUNITY ENGAGEMENTS COMMUNITY ENGAGEMENT REACH Dysart EVENTS Winton

Comet Longreach Rockhampton Gindie

Orion Gladstone Arcadia Valley Bundaberg

28,312 50 Windorah OTHER PERFORMANCES Injune OTHER PERFORMANCES AUDIENCE (INCLUDING CO-PRODUCTIONS) Sunshine Coast Charleville Jimbour Roma

Brisbane St George Toowoomba Gold Coast 2 189,100 Stanthorpe TV & RADIO BROADCAST REACH BROADCASTS

06 Map not to scale 07 Brenton Spiteri performing in Google’s lightstage studio in Los Angeles, capturing volumetric data for the new AR-ia app. / Photo: Courtesy: Google’s Creative Lab LEADING A CHANGE IN OPERA CHALLENGING THE SECTOR TO REIMAGINE THE POSSIBILITIES AND POTENTIAL OF THE ART FORM

Opera Queensland’s commitment to advancing the art form was strongly expressed in an intentionally diverse year of programming and creative developments. The company pushed the boundaries of collaboration, innovation, and interrogation of the art form.

Key elements of 2019’s program included five new productions, three main stage productions and the presentation of two major creative collaborations.

PRESENT A BALANCED REPERTOIRE COLLABORATE WITH OTHER UNDER THE BANNER: CLASSIC, ORGANISATIONS AND ARTISTS CONTEMPORARY AND FUTURE In 2019 we introduced an exhilarating cross genre Patrick Nolan’s production of Tosca, an opera collaboration. Created in association with internationally traditionally set in Rome in 1800, was reimagined into renowned contemporary circus company Circa, Orpheus 1970s Italy, a politically tumultuous period that resonated & Eurydice combined thrilling acrobatics, exquisite strongly with the personal and social politics of the singing and striking video design to show opera as never original. seen before.

In collaboration with Bleach* Festival and Queensland Updated to 1970s Italy, the setting is just Conservatorium Griffith University, Opera Queensland modern enough to seem contemporary, but presented a monumental performance of Verdi’s Requiem distant enough to offer a chilling analytical in April at HOTA, Home of the Arts. The large scale perspective on the abuses of power that could production featured close to 100 musicians with soloists and a chorus of sixty singers, bringing Verdi’s heart- be happening today. rending music to Gold Coast audiences for the first time in THE AUSTRALIAN many years.

TEST NEW WAYS OF TELLING STORIES HOST AN INTERNATIONAL SYMPOSIUM WITH MUSIC INTERROGATING THE ART OF OPERA We pushed the technical boundaries with the At the inaugural New Opera Workshop — NOW 2019, development of an app that used Augmented Reality to Opera Queensland brought together opera change- present opera in peoples’ homes. This ground-breaking makers to explore what opera might be. One key outcome partnership with Google’s Creative Lab offered a glimpse was a rigorous sector wide discussion about the role of into the future of what’s possible when cutting edge women in opera, culminating in a national forum titled digital technology and opera are combined. Gender, Equity and Diversity in Opera.

Everything we do at Opera Queensland celebrates and 88% interrogates the extraordinary energy that opera creates. 3 1 AUDIENCE MOVED MAIN STAGE PATRICK NOLAN, ARTISTIC DIRECTOR & CEO AND INSPIRED BY WORLD PREMIERE PRODUCTIONS ORPHEUS & EURYDICE

08 09 Using the Opera Queensland AR-ia augmented reality app / Photo: Courtesy: Google’s Creative Lab NEW OPERA WORKSHOP — NOW 2019 OPERA QUEENSLAND INVESTIGATING AND CELEBRATING THE AND GOOGLE’S EXTRAORDINARY ART FORM OF OPERA CREATIVE LAB A key innovation arising out of Opera Queensland’s goal of leading change in opera COLLABORATION was the inaugural New Opera Workshop — NOW 2019, 5–7 April.

In collaboration with Queensland Conservatorium Griffith University, Opera Queensland presented NOW 2019 in April, a forum for focused conversation and detailed exploration of the art form and its possibilities in the modern world. PROJECT The sector-wide initiative brought together leading Australian and international composers, librettists and producers, including renowned author and librettist David Malouf, who delivered the keynote address. ARIA Award-winning musician Megan Washington opened the forum, previewing excerpts from her new opera, commissioned by Opera Queensland and AR-ia Queensland Conservatorium Griffith University. AN OPERA SET IN YOUR HOME

Over the three-day event, a series of open forums, presentations and performances provided the backdrop for a robust and impassioned dialogue investigating opera in the 21st Century.

NOW 2019 SPEAKERS Opera is perhaps the least mobile art form of all. Producing an opera traditionally requires the combined forces of an orchestra, an ensemble PREMIERED AT THE 2019 ACM Laura Bowler, Nicholas Cleobury, Paul Dean, Gerardo Dirié, Patrick Nolan and Composer, of singers, a chorus, complex sets and costumes, and a small army of SIGGRAPH CONFERENCE AND Megan Washington / Photo: Paul Harris Stephen Emmerson, Mary Finsterer, Paul Grabowsky, Elliott Gyger, technicians. With this as a major source of inspiration, Google’s Creative EXHIBITION IN BRISBANE, Michael Halliwell, Tim Hopkins, Liza Lim, David Malouf, Lab approached Opera Queensland and invited us to explore what 17–20 NOVEMBER 2019 Natalie Murray Beale, Patrick Nolan, Jack Symonds, might be possible if Augmented Reality (AR) were to become part of the Megan Washington, Pierce Wilcox, Patrick Eakin Young process of staging an opera. Google’s Creative Lab in Sydney PERFORMERS More than 18 months in development, the result was the creation of a Tea Uglow, Jonathan Richards, Sean Kelly,

Rebecca Cassidy, Jessica Hitchcock, Jessica Low, Irena Lysiuk, prototype app called AR-ia that used a condensed version of Mozart’s Samantha Cordingley, Jude Osborn, Kelly The Magic Flute to explore how people might bring opera into their living Rachel Pines, Alex Raineri, Megan Washington Cameron, Kirstin Sillitoe, Eden Payne. rooms. Recorded in studios in Brisbane and Los Angeles, the app utilised ‘volumetric capture’ technology to record each singer’s performance Augmented Perception team in San from 360 degrees. The final result allowed users to transform their Francisco and Los Angeles The conference was brilliant… I feel privileged to have been part of it. homes into the world of The Magic Flute, replete with singers emerging Christoph Rhemann, Sean Fanello, LAURA BOWLER, COMPOSER & PERFORMER from pictures that magically appeared on their walls or in one instance Danhang Tang, Jay Busch, Philip smashed down their walls to reveal an entire universe behind. Davidson, Paul Debevec, Peter Denny, NOW could have a unique position in the landscape of music both Graham Fyffe, Kaiwen Guo, Geoff Harvey, The app was launched at the 2019 ACM SIGGRAPH Conference and within Australia and on an international platform. Exhibition, an internationally respected conference bringing technical Peter Lincoln, Wan-Chun Alex Ma, MARY FINSTERER, COMPOSER and creative leaders from all over the world to share their research in Jonathan Taylor, Xueming Yu, Matt science, art, animation, gaming, interactivity, education and emerging Whalen, Jason Dourgarian, Shahram It shows how important an event the conference was because it technologies. Izadi. brought things into collision! I think it presents a great opportunity to develop and be more focused and careful on the messaging of the The impact of COVID-19 has added weight to the urgency to find choices made around repertoire, stories and who makes them. alternative ways to engage with opera. We are currently exploring ways LIZA LIM, COMPOSER of making the AR-ia app available to a broader audience and welcome inquiries from investors interested in being involved.

Out of this weekend emerged a national conversation about the role CREATIVE TEAM CAST of women in opera, precipitating a confronting, robust and fruitful Tamino dialogue, demanding change. Director Patrick Nolan Brenton Spiteri PATRICK NOLAN, ARTISTIC DIRECTOR Original Design Concept Pamina Emma Pearson Genevieve Blanchett Sarastro Wade Kernot Booth Design Penny Challen Camerata — Queensland’s Musical Director Narelle French Chamber Orchestra 10 Audio Engineer Geoff McGahan 11 CHRISTOPH WILLIBALD GLUCK I have rarely heard an audience so unanimously thrilled by something innovative in an opera performance. ORPHEUS & EURYDICE This is a wonderful experience of theatre.

24 OCTOBER–9 NOVEMBER 2019 — PLAYHOUSE QPAC NICHOLAS ROUTLEY, AUSTRALIAN STAGE

How far would you go to save the one you love?

Heartbroken Orpheus has been granted the chance to bring his beloved wife Eurydice back from the underworld with one condition: he must not look at her — even for a moment — on their perilous NEW PRODUCTION journey home. But can he resist the desire to look into the eyes of his true love?

Created in association with internationally renowned contemporary circus company Circa, this was opera like never before — mixing thrilling acrobatics, profoundly beautiful singing and exquisite video design to take us to hell and back. 5,734 ATTENDANCE CREATIVE TEAM

Conductor Dane Lam Director Yaron Lifschitz Costume Libby McDonnell Set Design Yaron Lifschitz Lighting Alex Berlage Video Boris Bagattini 8 Chorus Master Narelle French PERFORMANCES Associate Director Heather Fairbairn Associate Circus Director Bridie Hooper Choreography Yaron Lifschitz, Bridie Hooper and the Circa Ensemble

CAST

Orpheus Owen Willetts Eurydice & Amor Natalie Christie Peluso Opera Queensland Chorus Circa Ensemble 3 Ela Bartilomo Lachlan Sukroo SOLD OUT Jessica Connell Billie Wilson-Coffey PERFORMANCES Jarred Dewey Scott Grove Gerramy Marsden Alice Muntz Queensland Symphony Orchestra

An astonishing, emotionally charged and radical LIBBY MCDONNELL, production which defies operatic tradition. MATILDA AWARD JON ADAMS WINNER FOR BEST COSTUME DESIGN

12 13 Natalie Christie Peluso (top) with Jessica Connell (left) and Owen Willetts / Photo: Jade Ferguson OSCAR & LUCINDA COLLABORATIONS World premiere — 27 July — Carriageworks Oscar & Lucinda, a co-production and co-commission with All have their moments to shine in 2019 was a year of boundary-pushing collaborations for Opera Queensland. In Opera Queensland, Sydney Chamber Opera, and Patrick Nolan’s inventive, fluid joining with others and creating spaces for different art forms to shine, opera found Victorian Opera had its world premiere at Sydney’s new relevance for a diverse range of audiences. From our long-term collaborations Carriageworks in July. production, rich with memorable images

with Queensland Symphony Orchestra and QPAC to working with new presenting Peter Carey’s novel about the complex lives and loves of an and moments of subtle choreography. partners, these partnerships are crucial to build capacity within the arts sector and orphaned proto-feminist industrialist and a man who Nolan handles the more frenetic allow more works to be showcased to the world. believes he is touched by God is adored by readers the world over. moments of activity with ease, the instances of split-stage storytelling done CIRCA The opera reunited the composer Elliott Gyger with

Opera Queensland invited Brisbane based, internationally renowned Circa to co-create Orpheus & Eurydice. Over the past librettist Pierce Wilcox. Together they transformed Carey’s with clarity and facility. twenty years, led by their Artistic Director, Yaron Lifschitz, Circa have precipitated a revolution in the world of kaleidoscopic novel into a profoundly original new LIMELIGHT MAGAZINE REVIEW Australian opera, directed by Opera Queensland Artistic contemporary circus by returning the focus to the virtuosity of the performers’ bodies. Orpheus & Eurydice rejected OSCAR & LUCINDA unnecessary ornamentation to allow the physicality of the performers to speak with a profound emotional clarity. Working Director, Patrick Nolan. with Yaron as director were Libby McDonnell, costume, Alex Berlage, lighting, and Boris Bagattini, video — an extraordinary group of artists whose work is remarkable for the originality of their vision and willingness to challenge CREATIVE TEAM CAST assumptions about what live performance can be. Composer Elliott Gyger Jessica Aszodi, Brenton Spiteri, Jeremy Kleeman, Libretto Pierce Wilcox, based on the novel by Peter Carey Simon Lobelson, Mitchell Riley, Jane Sheldon SHAKE & STIR THEATRE CO Conductor Jack Symonds Opera Queensland was thrilled to continue the sixth year of collaboration with the Matilda Award winning shake & stir Director Patrick Nolan theatre co, renowned for their primary and secondary in-school performance programs. In 2019 more than 6,000 students Set & Costume Design Anna Tregloan from 35 schools across the state were immersed in the joy and excitement of opera with the third year of the Hansel & Gretel Lighting Design Damien Cooper primary schools tour. Assistant Director Constantin Costi

OPERA AT JIMBOUR VERDI’S REQUIEM 27 July — Jimbour Station In July, audiences were delighted as Opera Queensland and Queensland Music Festival presented the spectacular outdoor 27 April — HOTA, Home of the Arts, Gold Coast experience, Opera at Jimbour, as part of the 20th anniversary of the state-wide celebration of music. One of the signature events of the 2019 Bleach* Festival, the stunning outdoor production of Verdi’s Requiem was presented in collaboration with the Bleach* Festival, Queensland Conservatorium Griffith University and HOTA. Showcasing local A country experience with a classical twist, the event featured favourites carefully selected from iconic opera classics, talent, the ambitious project featured over 150 musicians and singers, including site-specific commissions from designer performed by outstanding Opera Queensland singers and a 40-member strong community chorus. This performance was and fire artist Alex Podger, and video and lighting designer Mark Howett. presented by Queensland Music Festival, Western Downs Regional Council, Opera Queensland, Queensland Conservatorium Griffith University and Russell Pastoral Company. CREATIVES CAST

CREATIVES CAST Conductor Peter Luff Natalie Aroyan, Milijana Nikolic, Rosario La Spina, Conductor Vanessa Scammell Jason Barry-Smith, Shaun Brown, Sarah Crane, Director Patrick Nolan Andrew Collis Director Jason Barry-Smith Simon Kim, Xenia Puskarz Thomas, Hayley Sugars Lighting and Video Design Mark Howett Opera Queensland Chorus Chorus Master Arthur Johnson Opera Queensland Toowoomba Chorus Site Design Alex Podger Queensland Conservatorium Student Chorus Queensland Youth Orchestra Chorus Master Narelle French Queensland Conservatorium Symphony Orchestra

NICOLE CAR Nicole Car Verdi’s Requiem as part of Bleach* Festival, HOTA Home of the Arts / Photo: Art-Work Agency 11 August — Concert Hall QPAC / Photo: Georges Antoni The remarkable Australian star, Nicole Car was joined by her husband, internationally acclaimed baritone, Etienne Dupuis and Dalby-born pianist, Jayson Gillham. Featuring romantic French and Spanish songs and popular arias and duets, this exclusive one-night only performance was presented in association with QPAC and Andrew McKinnon.

14 15 Orpheus & Eurydice in collaboration with Circa Contemporary Circus / Photo: Jade Ferguson

16 17 NURTURING AND GROWING AUDIENCES

CONNECTING AND ENGAGING TO ENRICH LIVES THROUGH OPERA

We value the stories and music that four hundred years of opera offer our audiences. This wellspring of inspiration reveals the threads that connect us — our humanity, our fragility and our extraordinary capacity to adapt to change.

2019 saw us lay the foundations for deeper connection and stronger relationships with our opera audiences and wider appreciation of the art form.

INCREASE MAIN STAGE PRESENTATIONS COLLABORATE WITH OTHER FROM TWO TO THREE PER YEAR ORGANISATIONS TO ACCESS NEW A total of 13,994 audience members enjoyed our three AUDIENCES main stage performances — Tosca, Orpheus & Eurydice Opera Queensland experienced increases in attendance and A Flowering Tree — this year. amongst younger audiences (ages 25–49), particularly for our collaborations with Circa, Bleach* Festival and Queensland Conservatorium Griffith University.

Sing Sing Sing participants / Photo: Stephanie Do Rozario

PRESENT WORK THAT DEVELOPS EXTEND OUR EDUCATION AND Prep student from Longreach State Primary School / Photo: Ian Kenny DIVERSE AUDIENCES REGIONAL PROGRAMS In Songs to Die For classical opera shared the stage with Hansel & Gretel brought opera into the hearts and minds rock and roll as Don Giovanni travelled down AC/DC’s of more than 6,000 school students. In 2019 our talented “Highway to Hell”. Presented to regional and remote artists presented to children in regional areas recovering communities across Queensland, this production played from recent drought and floods. This included students in 17 different centres, a significant increase on previous from small country schools such as Orion State School, tours. 115km south of Emerald, where the entire school of 11 students delighted in their first opera performance. Project AR-ia was a critical step forward in embracing digital technology as a form of creation and a medium for sharing our work more widely.

Every student from Prep to Year 6 17% 71% 94% had a smile on their face. TINA MCCOLL, TEACHER, RAINBOW BEACH LOYAL OPERA ON HANSEL & GRETEL GROWTH IN SOCIAL LIKELY TO LOVERS MEDIA AUDIENCE RECOMMEND TOSCA TO A FRIEND 18 19 GIACOMO PUCCINI A production whose intelligence and clarity successfully TOSCA merged great opera with withering social commentary.

13–22 JUNE 2019 — LYRIC THEATRE QPAC THE AUSTRALIAN

In a world of political tyranny and widespread intolerance, Tosca is a timeless plea for artistic and political freedom.

Often described as the greatest opera of them all, Tosca embraces the grand themes of the human spirit brought to life by one of the greatest composers of them all, Giacomo Puccini. For this production we transported audiences back to 1970s Italy where political and religious NEW PRODUCTION tensions are at breaking point. Tosca, a famous opera singer, is devoted to painter Cavaradossi but Scarpia, the tyrannical Chief of Police, has his own plans for her.

Tosca is a gripping tale of lust, betrayal and cold-blooded murder. The new production was directed by Opera Queensland’s Artistic Director, Patrick Nolan, conducted by Oliver von Dohnányi, and featured an all-star company headlined by international Australian artists Rachelle Durkin, Angus Wood and José Carbó. 5,861 ATTENDANCE CREATIVE TEAM

Conductor Oliver von Dohnányi Director Patrick Nolan Sets and Costumes Dale Ferguson Lighting Mark Howett Chorus Master Narelle French Assistant Director Laura Hansford Fight Director Nigel Poulton

CAST 5

Tosca Rachelle Durkin PERFORMANCES Cavaradossi Angus Wood Scarpia José Carbó Spoletta Gregory Massingham Sciarrone David Hibbard Angelotti Sam Hartley Sacristan & Gaoler Shaun Brown Cleaner (Shepherd) Jessica Low Opera Queensland Chorus Children’s Chorus TOSCA IS SET FOR A REGIONAL TOUR Queensland Symphony Orchestra OF QUEENSLAND

20 21 Rachelle Durkin and Gregory Massingham / Photo: Stephanie Do Rozario MUSIC TEACHER PROFESSIONAL DEVELOPMENT The cast of Hansel & Gretel (L–R) Thomas Chapman, Emma Nightingale and Bree Meara-Hendy / Photo: Courtesy shake & stir theatre co In 2019 Opera Queensland again collaborated with the LEARNING AND EDUCATION Queensland Symphony Orchestra (QSO) on a professional development and education launch. In October more than 200 teachers visited the QSO’s ABC Studio to learn more about the educational resources offered by both Delivering opera in engaging and innovative ways within schools and communities companies. Teachers then spent the day engaging in right across Queensland is an important goal for Opera Queensland. By taking opera professional development delivered by artists and guest off the main stage and into communities, we bring our audiences and artists closer presenters across both organisations’ workplaces. The together, breaking down traditional barriers and expanding the appreciation of the annual event is a key component of professional art form. development for music teachers in South East Queensland and allows both companies to share their new programs and explore how they align with the National Curriculum. SING WITH OPERA QUEENSLAND IN THE CLASSROOM Opera novices and keen amateur singers alike got their Opera Queensland has been delivering school residency HANSEL & GRETEL chance to sing along to much-loved operatic classics as programs each year for over a decade. In these Loved by hundreds and thousands of people the world part of Sing Sing Sing — one of Opera Queensland’s most programs, students work with Opera Queensland over, Hansel & Gretel is one of the most popular operas popular events. The joy and fun created in these events Teaching Artists and facilitators to unpack the stories of ever written. In 2019 Opera Queensland again partnered continue to remove barriers between opera and the traditional operas and retell them in their own way. with the renowned shake & stir theatre co to take this general public, attracting an impressively diverse Students curate repertoire from various composers and bright and beautiful new version, based on Humperdinck’s audience from across the state. musical styles to create unique performances that reflect Hansel & Gretel, on an extensive schools tour. Performed the students’ own experiences and musical preferences. by a talented cast of Queensland’s most energetic young Singers who prefer more formal training once again The program allows senior students to take leadership performers and directed by the multi-award winning benefited from Opera Queensland’s program of Youth roles whilst celebrating the diversity across the school shake & stir theatre co team, Hansel & Gretel was and Adult Workshops. Offering the chance to hone both cohort. Residencies conclude with a presentation of the performed to more than 6,000 students in regional and choral and solo skills, the workshops help develop existing week’s learnings to friends, family and the school staff. South-East Queensland communities, many affected by skills and build confidence. Solo workshops were delivered natural disasters. This meaningful educational program in masterclass mode where each participant was given In 2019, students from Springwood State High School offers children, who may not otherwise encounter the art tailored feedback and tips. Participants elected to focus again benefited from this important educational form, an unforgettable introduction to opera. on either classical or contemporary repertoire and work program. The school’s P&C Association fundraises under the tutelage of Opera Queensland’s highly skilled annually to make these residency workshops possible and CREATIVE TEAM artists. These solo workshops are attended by people who many students attend every year for the six years of their Directors Ross Balbuziente, Nelle Lee and Nick Skubij want to re-connect with singing, refine their skills for an secondary schooling. School workshops were also Set & Costume Designer Josh McIntosh upcoming audition and music teachers who are seeking undertaken by students at Yeronga State High School, Musical Adaptation & Lyrics Narelle French professional development for their own pedagogy. providing invaluable access to our highly skilled music …best performance at Book and Dialogue shake & stir theatre co education specialists. Continuing the popular format of previous years, a new Media Producers optikal bloc school I’ve ever seen! series of Adult Group Vocal Workshops was introduced in FACILITATORS & PRESENTERS CAST SHARON WILSON, PRINCIPAL, 2019. They were designed to appeal especially to Jason Barry-Smith, Mark Connors, Rebecca Cassidy, BIDDESTON STATE SCHOOL Hansel Bree Meara-Hendy experienced and amateur singers such as choir members Alicia Cush, Bradley Daley, Susan Ellis, Narelle French, Gretel Emma Nightingale and music teachers seeking professional development Nick Kirkup, David Law, Jessica Low, Catherine Lynagh, and the joy of singing ensemble music and choruses in Irena Lysiuk, Katie Stenzel, Luke Volker, John Woods. Witch/Father Thomas Chapman intensive group sessions. Mother Clarissa Foulcher (on-screen) Sandman Jessica Low (on-screen) Dew Fairy Irena Lysiuk (on-screen)

365 1,004 6,139 SING SING SING WORKSHOP HANSEL & GRETEL PARTICIPANTS PARTICIPANTS STUDENT ATTENDANCE

22 23 ARTISTS

OPERA QUEENSLAND TOOWOOMBA ARTISTS ACROBATS DESIGNERS COMMUNITY CHORUS ORCHESTRAS

Micheal Al Hajj^ Andrew Collis David Hibbard Jon Maskell Jane Sheldon^ Ela Bartilomo^ Boris Bagattini^ Joel Bolitho^ Greg Ottaviano Camerata — Queensland’s Chamber Orchestra Cievash Arean^ Chris Connelly^ Jonathan Hickey Gregory Massingham Daniel Smerdon Jessica Connell^ Alex Berlage^ Richard Chiverrall Annie Rose Paroz^ Queensland Conservatorium Natalie Aroyan^ Sarah Crane Jessica Hitchcock^ Benjin Maza^ Brenton Spiteri Jarred Dewey^ Genevieve Blanchett Lynn Michelle Clayton^ Alanah Philp^ Symphony Orchestra Jessica Aszodi^ Daniel Dow^ Michael Keen Bree Meara-Hendy Katie Stenzel Scott Grove^ Leigh Buchanan John Dakin Chloe Retschlag^ Queensland Symphony ^ Jimi Bani^ David Dow^ Rachel Kelly^ Kenneth Moraleda^ Hayley Sugars Gerramy Marsden Penny Challen Wendy Evans Marina Salomon Orchestra ^ Norah Bagiri^ Etienne Dupuis^ Wade Kernot Emma Nightingale Jalen Sutcliffe^ Alice Muntz Damien Cooper Mary Louise Fraser Joy Schmidt Queensland Youth Orchestra Jason Barry-Smith Rachelle Durkin Anna Kho^ Milijana Nikolic Lionel Theunissen Kathryn O’Keeffe^ Dale Ferguson Alex Grimmett Faye Seng James Bourbon Adrian Dwyer Simon Kim^ Emma Pearson Xenia Puskarz Thomas* Giulia Scamarcia^ Jason Glenwright Zachariah Harbort Ian Sharpe LEGEND Shaun Brown Vivien Emsworth^ Louise King^ Natalie Christie Peluso Daniel Todd^ Lachlan Sukroo^ Mic Gruchy Ian Kammholz Christopher Stritch Leigh Buchanan Susan Ellis Nick Kirkup Rachel Pines Leon Warnock Billie Wilson-Coffey^ Mark Howett Kylie Lee Brendan Thomas ^ ^ Bianca Bulley Alexandra Flood^ Jeremy Kleeman^ Heru Pinkasova Megan Washington Yaron Lifschitz Michelle Major Rosalie Venz ^ First engagement with Kiara Bulley Clarissa Foulcher Eva Kong Christa Powell^ Kristal West^ Libby McDonnell^ Candice Moore Susan Wheatley Opera Queensland ^ ^ ^ ^ Geoff McGahan Penny Muller Nick Williams Nicole Car Talia Garrett-Benson Jolanta Kudra Alex Raineri Owen Willetts * Queensland Conservatorium José Carbó Ruth Ghee^ Rosario La Spina Mitchell Riley^ Angus Wood^ Josh McIntosh Caitlin Nass Kate Wolyncevic Griffith University (QCGU) Ryan Carlson Jayson Gillham^ Simon Lobelson^ Alanna Ritchie^ Alex Podger^ Kaitlyn Orange student performer (volunteer) Rebecca Cassidy Eleanor Greenwood Jessica Low Joshua Rivery^ Rozina Suliman^ Thomas Chapman^ Antoinette Halloran Shannon Luk^ Ayse Sanal^ Anna Tregloan^ Craig Colclough^ Sam Hartley Irena Lysiuk Cassandra Seidemann Bryan Woltjen^

CHORUS

Sean Andrews Shaeyna Day Michael Hibbard Irena Lysiuk Deirdre Pullen Stephen Beck Bernadette Debattista Brett Holland Jon Maskell Katie Rutledge Juanita Bowden-Marino Darian Di Stefano-Johns Kaja Holzheimer Shelden Mathieson Michael Sanders Kathryn Bradbury Louise Dorsman Ian Kammholz Elizabeth McBride Cassandra Seidemann Matthew Broadbent Dominique Fegan Steven Kickbusch Bree Meara-Hendy D’Arne Sleeman Ryan Carlson Regan Flor Adele King Ron Morris Daniel Smerdon Rebecca Cassidy Clarissa Foulcher Dana Kingsford David Muller Jill Sullivan Susan Chapman Anne Fulton Nick Kirkup Yvonne Napper Lionel Theunissen Thomas Chapman^ Karen Gaydon Mark Kroon John Nicholson Eleanor Varnes Chris Cobcroft Melissa Gregory Andrew Lange Emma Nightingale Leon Warnock Janelle Colquhoun Rachael Griffin Jessica Low Heru Pinkasova Rosina Waugh Bill Cronk Sally Harrison Annie Lower Samuel Piper Bernard Wheaton Roger Davy Sam Hartley Mattias Lower Phillip Prendergast Robert Williams

CHILDREN’S CHORUS QCGU STUDENT CHORUS CHORUS MASTERS

Sebastian Altamirano^ Anthony Diakos-Masters^ Joel Berndt*^ James Scott* Narelle French Alexander Baird^ Lachlan Jarvis^ Ben Burrows*^ Kristian Scott*^ Brett Holland Xavier Craddock^ Mac Johnson^ Austin Carpenter* Kate Stuart* Arthur Johnson Kavith De Silva^ Mackenzie Martin^ Sara Donnelly*^ Sabrina Wall*^ Alison Rogers^ Loukas Waltisbuhl^ Vikram Goonawardena*^ Nina Wildman* Jolanta Kudra*^ Alanah Mayers*

CONDUCTORS & COMPOSERS, MUSICAL ARRANGERS & DIRECTORS, DRAMATURGS & DIRECTORS LIBRETTISTS MUSIC STAFF CHOREOGRAPHERS

Jason Barry-Smith Norah Bagiri^ Mark Connors Ross Balbuziente Bridie Hooper^ James Dobinson Luke Captain^ Teresa Desmarchelier Jason Barry-Smith Nelle Lee Narelle French Christine Evans^ Alex Raineri Angela Chaplin Yaron Lifschitz^ Trevor Jones Narelle French Jillianne Stoll Constantin Costi^ Nadine McDonald-Dowd^ Rubina Kimia^ Ruth Ghee^ Kym Troy Alicia Cush Patrick Nolan Dane Lam Andrée Greenwell^ John Woods Jeanette Fabila^ Nigel Poulton^ Peter Luff Elliott Gyger^ Heather Fairbairn^ Nick Skubij Natalie Murray Beale^ Paul Hodge^ Laura Hansford Darren Yap^ Vanessa Scammell Trevor Jones Scott Saunders^ Michelle Law^ Jack Symonds^ John Romeril^ Luke Volker Scott Saunders^ Oliver von Dohnányi^ Luke Volker Megan Washington Pierce Wilcox^ 24 25 Brenton Spiteri and Mitchell Riley in Oscar & Lucinda / Photo: Zan Wimberley at Carriageworks ENSURING FINANCIAL MESSAGE FROM AND OPERATIONAL THE CHAIR SUSTAINABILITY

SAFEGUARDING THE FUTURE OF OPERA QUEENSLAND This message is being written at a most difficult time when a good deal of activity — and certainly cultural and artistic activity — is closing down in Australia and Opera Queensland balances the creation of beautiful, impactful art with financially worldwide because of the coronavirus and the spread of COVID-19. sustainable operations. I would like to assure you that Opera Queensland began Readers of this report will undoubtedly have experienced Supported by the strong governance and policy framework of the Board, 2019 was an excellent year that saw Opera planning early and has been able to put in place the result of a wonderful collaboration with Circa to Queensland report an operating surplus of $273,331. With the addition of $200,000 from dollar-matching grants tied to measures to protect the health of its staff, patrons and produce Orpheus & Eurydice. The Chair’s Circle reserves campaign and a significant bequest to fund the development of young and emerging artists, the supporters. Sadly, the staging of Lorelei had to be total surplus for 2019 was $1,297,349 — a highly successful financial year for Opera Queensland. Achievement of the company’s goals depends on long- cancelled and it is too early to predict the effects of the term financial sustainability. A significant development in pandemic on productions planned for later in the year. 2019 was the establishment of The Chair’s Circle. This Heartful thanks are owed to those generous patrons who DIVERSIFY OUR INCOME BASE CONTINUALLY FOCUSING ON involves existing donors pledging additional support have ‘donated’ their tickets to the company. This will be of Opera Queensland continues to increase the percentage OPERATING COSTS across a three-year period. This fund, together with our enormous help in the difficult times ahead. of private income received as a result of our exceptional Strong control of production costs and continual operating surplus, led to an additional $200,000 from the relationships with donors, sponsors and corporate improvements to efficient practices in administration However, this Annual Report and message is for 2019. Australia Council in 2019 to help build the company’s partners. were also central to our positive financial result. Last year saw the company enter one of the most exciting reserves. periods in its 38-year history. 2019 was the first year of Aside from coronavirus there are other significant our three-year funding uplift. We are pleased to report an external events that affect the company. The Major BEST PRACTICE GOVERNANCE AND RISK CREATE AN ORGANISATIONAL CULTURE operating surplus for 2019 of $273,331. Having a surplus Performing Arts Framework has been replaced by the MANAGEMENT OF RESPECT, EVALUATION AND is one of the most important KPIs in the tripartite funding National Performing Arts Framework. As part of this CONTINUAL LEARNING agreement with Arts Queensland and the Australia Led by Board Chair, Emeritus Professor David Siddle, change, all current MPA Companies were to have applied Council for the Arts. Opera Queensland’s volunteer Board held seven Directors In 2019 Opera Queensland raised its commitment to for funding by 30 June 2020. This deadline has now been Meetings during 2019, undertaking regular governance making the company a safe, diverse and positive place to We thank the Queensland Government, through Arts moved to 1 October at the earliest. If successful, funding effectiveness reviews and overseeing the company’s work. This was done through the implementation of a HR Queensland, and the Australian Government, through the will be awarded on a four-year + four-year basis. Looking robust risk management systems and controls. sub-committee of the Board and the inclusion of diversity Australia Council for the Arts, for providing ongoing core to the future, we will be engaged in the development of a and Health and Safety as standing agenda items in our funding for the work of Opera Queensland. We also thank new Strategic Plan and in the careful documentation of weekly team and management meetings. sincerely our generous and committed sponsors and our achievements. I am also happy to report that the donors. Your crucial support has enabled the company to company will in 2020 reintroduce a Young Artist Program. present our wide range of activities throughout Good governance underpins all our activities and is Queensland under the Learning, Regional and essential to the realisation of our goals. The Board is Community program. committed to sound governance practices, including a A point of difference between Opera Queensland and healthy organisational culture based on the highest some other Australian opera companies involves the standards of ethical behaviour, and a respect for diversity delivery of our art form to regional areas of Queensland. and inclusion. I thank my Board colleagues for their Queensland’s decentralisation poses obvious issues. commitment and guidance, and the entire Opera Nevertheless, I am very pleased to say that the company Queensland team for their tireless efforts to share opera met its regional responsibilities magnificently as well as experiences across Queensland. delivering opera to schools across Queensland and three Finally, the current pandemic will continue to pose main stage productions in Brisbane. Thus, the company is difficulties for all sections of our society. However, if as a sharing opera with audiences that are diverse in terms of community we are sensible, considerate and heed advice, age, cultural background and geography. we can minimise the impact of COVID-19 and emerge 28% 44% The company’s commitment to advancing the art form more quickly with our society’s structures and values RESERVES PRIVATE SECTOR means that we must simultaneously honour operatic intact and be able to enjoy again live performances of the RATIO CONTRIBUTIONS traditions, commit to the creation of new work that art form we all love. speaks to contemporary society and be alert to the INCREASE EMERITUS PROFESSOR DAVID SIDDLE possibility of creative collaborations with other art forms. 26 Chair 27 MESSAGE I’m incredibly proud to work FROM THE with such wonderful colleagues, and I admire their excellence, EXECUTIVE dedication and commitment to TEAM what we do.

2019 was a year of great growth for Opera Queensland, as well as a hugely successful financial year. We celebrate a year of great success and learning, built upon a program that enabled As the world’s theatres have now closed indefinitely, many In 2019 we were incredibly fortunate to receive a significant new possibilities and much needed change. performers and musicians are not only without work but are bequest through the Estate of Lois Schultz and also unable to practise and rehearse in groups. The impact June Wheeler. Their extraordinary gift was endowed to I write this from the confines of my home, a place where I Everything we do at Opera Queensland celebrates and that this global crisis will have on the performing arts and Opera Queensland for the purpose of nurturing and have retreated in response to a pandemic that has stopped interrogates the extraordinary energy that opera creates. the cultural sector will be felt for many years to come. Yet in fostering our young and developing artists. The bequest is a the world. The seemingly impossible has happened and we One of our goals is to “Lead Change in Opera”. To do this these times of uncertainly and isolation people increasingly key contribution to the company’s overall surplus of must completely rethink the way we function in order to we must live it in every facet of our work. rely on music, opera, and the broader arts to connect and $1,297,349 for the year. This legacy will help ensure our survive. Out of the trauma and tragedy of this crisis In the productions we present, in our relationships with give a sense of belonging and wellbeing. future and through their generosity we have commenced phenomenal creativity and ingenuity is emerging. Refusing audiences across the state and artists across the world, in the Opera Queensland Young Artist Program using the to be beaten, people have found ways to connect and The challenge for Opera Queensland as it comes to terms the works we commission and the way we work together as earnings from this restricted endowment. share their stories, often through music and song, with the impact of the current health and economic crisis is an organisation, we always seek to deepen our reminding us of opera’s phenomenal ability to shared by artists and arts organisations throughout the We are particularly thankful to the Queensland Government understanding and facilitate the growth of the art form. communicate across borders and revealing our shared world. Fortunately, Opera Queensland is well placed to through Arts Queensland, the Australian Government, humanity. We saw this in the transformative beauty of A Flowering endure the months ahead. Visionary leadership, effective through the Australia Council for the Arts, and Brisbane City Tree, the passion and intensity of Tosca, the energy and management and good governance led by our board of Council for their vital support and encouragement. This Reflecting upon our capacity to adapt to this extraordinary brilliance of Orpheus & Eurydice, the soaring majesty of directors, chaired by Emeritus Professor David Siddle, essential funding from our government partners ensures the situation, we look back on 2019 with a clearer perspective Verdi’s Requiem, the deep originality of Oscar & Lucinda, ensured 2019 was an outstanding year for Opera employment and professional development of our singers, on our commitment to examining our art form and how we the loving homage of Songs to Die For, the playful joy of Queensland. The leadership team acknowledges the time, creatives and arts workers. It enables our artistic vibrancy operate as an organisation. It was a year of great success Hansel & Gretel, and the wizardry and wonder of our wisdom and guidance provided by our board of directors, and our ability to enrich the lives of our diverse audiences and learning, built upon a program that enabled new collaboration with Google. and thanks them for fostering an environment in which throughout Queensland by creating thrilling opera. possibilities and much needed change. Opera Queensland management can dream, inspire, and It requires extraordinary commitment from everyone We also extend our sincere and heartful thanks to our This tone was set early in the year, with the New Opera deliver. involved — artists, technicians, creative teams, audiences generous donors, Trusts and Foundations, and to all of our Workshop — NOW 2019, a forum we presented with the and the Opera Queensland core staff, who so often go As a result of ambitious programming, pursuing exciting corporate partners. We are grateful to our many long-term Queensland Conservatorium Griffith University. Over three above and beyond to deliver our productions and opportunities and fostering new collaborations and and new supporters and notably Datacom, who has been a days, some of Australia’s leading opera composers, programs. technological innovation, Opera Queensland was able to major partner of Opera Queensland for 19 years, for their thinkers and producers gathered to make music and extend its engagement to new audiences and achieve a continued confidence and critical support of the company. discuss what opera is and might be. The economic and social conditions on the other side of successful financial outcome. It is our pleasure to report that These supporters give us strong foundations and allow us to this pandemic will demand a great deal from us all. I have Out of this weekend emerged a national conversation the company has again ended the year in a strong financial extend the reach of our activities and audiences and make it no doubt opera will have much to offer, it is a deeply about the role of women in opera — how are women position showing an operating surplus of $273,331. possible for us to develop new talent, showcase our artists collaborative art form, creating a space where people with represented in the narratives of operas and the production and reveal the beauty of opera to audiences throughout many different skills must listen carefully as they work My congratulations to Patrick Nolan for the first year of teams that create the performances? The lack of critical Queensland. together. More than ever, this sense of shared responsibility inspiring artistic direction of classic, contemporary and perspective in the former and the inequity in the latter and awareness of what is possible when we work together future works. It was a year powered by imagination I am incredibly proud to work with wonderful colleagues, precipitated a confronting, robust and fruitful dialogue, will be something to nurture and celebrate. We look featuring five new productions made exclusively for our and I admire their dedication, commitment to excellence demanding change. forward to doing this in a crowded room with you soon. company. Throughout 2019 Opera Queensland and belief in the power of the art form of opera. As Opera demonstrated a commitment to showcasing the Queensland gears up for its 40th anniversary in 2021 we look PATRICK NOLAN extraordinary talent and artistry of our singers and creative forward to bringing the joy and connection of opera to our Artistic Director & CEO teams. We are delighted to have collaborated with all of our diverse audiences, albeit in a changed world. marvellous performing and presenting partners throughout SANDRA WILLIS the year and thank them all for their generosity of spirit in Executive Director these collaborations.

28 29 OUR DONORS THANK YOU

THE CHAIR’S CIRCLE SILVER DONORS 2019 OPERA CLUB The Future of Opera is in Your Hands. Emeritus Prof David Siddle & $1,000–$4,999 Mr Rod Allen, Ms Thea Biesheuvel, With their visionary support, Opera Queensland’s Other highlights for 2019 included our highly entertaining Emeritus Prof Christa Critchley Emeritus Prof Catherin Bull am & Mrs Georgina Blomfield, Dr Walter & † † Dr Philip Aitken & Dr Susan Urquhart Emeritus Prof Dennis Gibson ao, Mrs Margaret Bodetti, Mr Gregory Breslin, philanthropic community allows the company to reveal annual fundraising gala. We give our thanks to the Opera Mr Philip Bacon am Mrs Kim Challenor & Mr Luke Challenor, Mr Fabian & Mrs Wendy Bryant, the beauty and share the transformative power of opera. Queensland Gala Committee members for their passion Emeritus Prof Catherin Bull am & Ms Marilyn Christiansen, Ms Anne Cross am, Mrs Judith A Cavanagh, and dedication to the success of this event and to the Emeritus Prof Dennis Gibson ao Ms Jean Dalton, Mr Alan & Mrs Lesley Chenoweth, As an industry leader shaping Australia’s cultural identity † individuals and organisations who showed incredible Prof Ian Frazer ac & The Hon Geoffrey Davies ao§ & Mr Roger Cragg, Mr William Forgan-Smith, through the development and presentation of generosity by donating auction prizes. Mrs Caroline Frazer † Ms Bridget French, Dr John Gough & Mrs Thea Davies, Dr Charmaine Davison , outstanding opera productions, Opera Queensland † † Dr Colin Furnival & Dr Isobel Furnival Miss Adele Dickman, Mrs Elva Emmerson, Ms Ann Page, Mr Rolf Grubwinkler, delivers excellence in all that we do while engaging and Additionally, the launch of The Chair’s Circle secured new Mrs Mary Gannon & Mr Cliff Farmer & Mrs Jennifer Farmer, Mr Nanda Gulhane, Dr Graeme & nurturing new and diverse audiences. philanthropic income in support of the company’s Prof Frank Gannon The Hon George Fryberg qc§ & Mrs Cathy Hall, Ms Sandra Harris, Emeritus Prof Andrew Lister & Mrs Jeraldene Fryberg, Dr Colin Furnival† & Ms Laraine Hinds, Mrs Marie Isackson, reserves campaign. With our vital donors’ generous support in 2019, it was Ms Kate Lister Dr Isobel Furnival†, Mr David Gow & Mr Peter & Mrs Kay Jaunais, Mr Trevor St Baker ao & Dr Kirsten Gow†, Ms Julia Gray, Ms Kay Jenkins, Mr Michael Kearney, possible for us to: We invite you to enrich lives by joining us in sharing the joy Mrs Judith St Baker Mr William Heck oam & Mrs Patricia Heck, Dr Lyudmila Kelloway, Mrs Gloria M Kahlert, • Increase our number of main stage productions of opera. Ms Valmay Hill & Mr Russell Mitchell, Dr Joan Lawrence am, Mr Harry Leary, • Expand our audiences T: 61 7 3735 3030 | E: [email protected] LEGACY DONORS Dr Margaret Lewis, Miss Carol Lloyd, Mrs Marie Isackson, Ms Elizabeth Jameson, • Invest in emerging artist development Mr Jason Lu, Dr John McCollow, The Estate of Lois Schultz & June Wheeler Mrs Megan Kair & Mr Andrew Kair, • Grow our regional engagement Dr Annette Kortlucke† & Dr Peter Kortlucke†, Mrs Bettina McGrath, Mrs Jennifer McKennariey, AMBASSADORS OF Mrs Andrea Kriewaldt & This year our Annual Appeal, with matched funding from Mr Martin Kriewaldt, Mr Patrick Nolan & Dr Desmond Brian Misso esq, EXCELLENCE the Mather Foundation, focused on raising funds to allow Ms Mathilde de Hauteclocque, Mr Steve Morris, Mr Jochen Mueller, Productions such as Tristan und Isolde Mr Ian Paterson, Dr Sally Pitkin, Ms Susan Nelson, Ms DK Norman, us to reach more Queenslanders across our vast state, wouldn’t be possible without the support of Mr Ray Poon, Mr Douglas Porter & Mr Adan Orozco Jimenez & from metropolitan to flood and drought-affected areas. the Queensland Wagner Society and Dr Janet Porter†, Dr John Quinn† am & Mrs Kelly Beauchamp, Mrs Sonja Petersen, Together with the ongoing support of the Tim Fairfax Dr Mark Walker. We continue to welcome Mrs Deborah Quinn, Geoff Ross Ms Judith Pembleton, Mr Andy Philips, the support of new and existing Family Foundation, over 16,000 Queenslanders Endowment — Australian Philanthropic Mr Colin & Mrs Karon Roberts, Ambassadors. experienced the wonder of opera through our Learning, Service Foundation, Ms Larissa Shumilo, Dr Gwenneth Roberts, Ms Annie Rogers, Mr Noel Rose, Dr David Rumsey am, Regional and Community programs. FOUNDATION DONORS Mr Henry Smerdon am & Mrs Suzy Smerdon, Mr Allen Smith & Mrs Mitzi Smith, Ms Lynn Schmidt, Mr Allen Smith, $15,000 AND ABOVE Dr Ben Steinberg† & Mrs Janette Steinberg, Mr Harry E Thompson oam, Dr Nick Tate & Mr Philip Bacon am, Tim Fairfax Family Dr Michael White qc oam§ & Mrs Barbara Tate, Mrs Loryn Van Den Berg, † Foundation, Prof Ian Frazer ac & The Hon Margaret White ao§, Dr Mark Walker, Mrs Donna Williams, Mrs Caroline Frazer, Mather Foundation, Ms Sandra Willis & Mr Nicholas Dwyer, Mr Robert Wilson & Mrs Patricia Wilson, Emeritus Prof David Siddle & Mr Rodney Wylie, Mrs Laurel Youngman Ms Angela Zivkovich Emeritus Prof Christa Critchley BRONZE DONORS † The Medical Chapter § The Legal Chapter PLATINUM DONORS $500–$999 $10,000–$14,999 Dr Philip Aitken & Dr Susan Urquhart†, Mrs Beverley Smith Mrs Georgina Blomfield, The Hon Dame Quentin Bryce ad cvo§, GOLD DONORS the Late Ms Judith Cavanagh, $5,000–$9,999 Mr Robert Cumming, Ms Lynette Denny, The Hon Justice Thomas Bradley§ & Mr Richard Gibberd, Miss Elizabeth Hatton, Dr Matthew Yoong, Mrs Mary Gannon & Ms Susan Learmonth, Prof Andrew Lister & Prof Frank Gannon, Dr John Gough & Ms Kate Lister, † Ms Ann Page, Mrs Andrea Hall-Brown & Dr Desmond Brian Misso esq, † L ongreach State Primary School students / Photo: Ian Kenny Mr Malcolm Hall-Brown, Dr Terry Sheahan & Mr Robert Hubbard & Ms Leanne Muller, Mrs Geraldine Sheahan, † Mr Trevor St Baker ao & Mrs Judith St Baker, Ms Louise Simmons, Dr Margaret Soroka , Mr John Story ao & Mrs Georgina Story, Mr Mark Taylor & Mr Will Sinclair, Mr Daniel Tobin & Mr Gilbert Guaring, Mr Robert Wilson & Mrs Patricia Wilson, Dr Mark Walker Anonymous 2 29% 92 INCREASE IN NEW DONORS DONATIONS RECEIVED

30 31 Alex Raineri and Alexandra Flood in concert / Photo: PixelFrame CREATING PATHWAYS FOR ARTISTS AND ARTS WORKERS

PROMOTING QUEENSLAND CREATIVE TALENT

Opera Queensland continues its commitment to furthering the careers of Queensland artists and arts workers. From singers and set designers to costumiers and wig makers, the company called upon the very best experts and artisans from across the state and beyond — preserving, sharing and developing skills to ensure the longevity of the art form.

In 2019, Artistic Director Patrick Nolan directed the world premiere of Oscar & Lucinda, a new Australian opera co- produced and co-commissioned by Opera Queensland, Sydney Chamber Opera and Victorian Opera. The hand-crafted costumes and wigs for the production were made in Opera Queensland’s workshop, with 10 wardrobe staff, including two interns, working together to realise the vision of Anna Tregloan’s beautiful costume designs.

COMMISSION DIVERSE ARTISTS TO TELL PROVIDE EMERGING ARTISTS WITH LOCAL STORIES THROUGH OPERA PRACTICAL LEARNING OPPORTUNITIES In 2019 Opera Queensland was involved in the creative Giving artists and arts workers practical experience is developments of four new works. While not every creative essential to the creation of a strong and sustainable arts development will make it to the stage, even the best ideas industry. Through our Learning, Regional and Community need time, space and resources for artists to transform program we engaged Jessica Low and Nick Kirkup, two their ideas into productions ready for an audience. emerging Queensland singers, and provided them with a variety of performance opportunities, from leading We continued our support of Culturally and Linguistically schools workshops in outback Queensland to small roles Diverse (CALD) artists to tell their stories with RIOT, a new in our major productions. Our wardrobe also offered work inspired by the true events of the race riots targeting numerous opportunities for costumiers and designers to the Chinese community in Brisbane in 1888. build their skills through internships.

ENGAGE FIRST NATIONS ARTISTS TO PROVIDE EMPLOYMENT AND ALEXANDRA FLOOD AND ALEX RAINERI CREATE OPERA DEVELOPMENT OPPORTUNITIES FOR 15–16 November 2019 — Opera Queensland Studio In collaboration with QPAC, we invested in the ARTISTS AND ARTS WORKERS November saw the launch of the company’s recital series and the Opera Queensland debut development of Dancing the Line, a new Australian Our self-presented works, collaborations, regional of Alexandra Flood. Flood is one of the rising stars on the Australian and international opera musical about a group of Torres Strait Islanders who used touring, education and community activities employed stage, having performed leading roles in some of the most significant opera houses in song as inspiration to set the world record for laying 265 artists and arts workers in 2019. Germany, Austria, and the USA. Brisbane’s own piano wunderkind Alex Raineri took the DEBUT railway tracks in outback Queensland. stage alongside Flood for two sold-out performances, presenting a carefully curated concert PERFORMANCE of songs by diverse composers including Schubert, Richard Strauss, Debussy and Fauré.

As the state opera company, it’s both an obligation and a true pleasure to develop the careers of Queensland artists, and a joy to bring in great artists 265 78% 101 from other cities and countries to work alongside Queenslanders. In creating TOTAL ARTISTS AND ARTS ARTISTS EMPLOYED WHO ARTISTS ENGAGED FOR pathways for arts workers to grow and thrive, we ensure the security of WORKERS EMPLOYED ARE RESIDENTS OF QLD THE FIRST TIME opera in Queensland for generations to come.

32 SANDRA WILLIS, EXECUTIVE DIRECTOR 33 Eva Kong / Photo: Stephanie Do Rozario

JOHN ADAMS This is an evocative and persuasive production of a A FLOWERING TREE contemporary opera that is rarely seen in Australia, and a 2–6 APRIL 2019 — CONCERT HALL QPAC powerfully moving one to boot. If you’re at all a fan of opera or modern classical, don’t miss it.

LIMELIGHT MAGAZINE Kumudha is a young woman with a secret power — the ability to transform herself into a tree covered in valuable blossoms.

But sometimes rare gifts can inspire love and jealousy in equal measure. Exploring themes of magic, transformation and the healing power of deep and selfless love,A Flowering Tree is a majestic retelling NEW PRODUCTION of a traditional Indian folk tale by world renowned composer John Adams.

The simple humanity of the story created a space for us to reflect upon our own fragility. Inviting us to be open to the vulnerability that love requires, showing us when life, or society, or the environment falls apart, we must be present to the pain, not avoid it or pretend it’s not happening.

CREATIVE TEAM Conductor Natalie Murray Beale 2,399 Director Patrick Nolan ATTENDANCE Video Mic Gruchy Sets and Costumes Bryan Woltjen Lighting Jason Glenwright Sets & Costumes Assistant Rozina Suliman

CAST

Kumudha Eva Kong Prince Adrian Dwyer The Storyteller Craig Colclough Opera Queensland Chorus 3 Queensland Symphony Orchestra PERFORMANCES

A Flowering Tree by John Adams with Libretto adapted by John Adams and Peter Sellars from a South Indian folktale and poems translated by A.K.Ramanujan is published by Boosey & Hawkes Music Publishers Ltd. These performances are licensed by Hal Leonard Australia.

5 × GRAMMY AWARD WINNING COMPOSER

34 35 Jimi Bani and David Dow, Dancing the Line Creative Development / Photo: Antony (TNEE) Dyer, Courtesy: Paul Brown

NEW WORKS IN DEVELOPMENT

In our drive to foster creative talent, Opera Queensland is proud to support the development of new Australian works that tell local stories, enable social change and help build strong vibrant communities. In 2019, the creative development of Songs to Die For culminated in performances as part of our regional tour and three other new works were showcased at industry viewings.

Darren Yap, RIOT Creative Development / Photo: Jade Ferguson

RIOT DANCING THE LINE SONGS TO DIE FOR THREE MARYS

Developed with La Boite Theatre Company Developed with Ailan Traks and QPAC Acknowledging death is a mystery that has fascinated Developed with QPAC RIOT is a sung-through music theatre work inspired by the Drawing on real life, Dancing the Line presents a largely composers across time, Songs to Die For took a collection Three Marys is a poetic story inspired by the medieval true events of the race riots targeting the Chinese unknown story of post-war migration from the Torres Strait of great death scenes from the history of opera and wove legend of biblical figures Mary mother of Jesus, Mary community in Brisbane in 1888. A tragic love story set to the mainland, by men whose back-breaking labour them through with songs by some of the greats of rock Magdalene and Mary Magdalene’s daughter, Sara. It against the backdrop of heady 1800s Brisbane, a big became integral to the development of Australia’s Top End. and roll who died too soon. follows the story of the three women as they seek asylum country town populated with bustling bars, seedy brothels The musical has grown via community workshops, ongoing in a new land and set out to make a new life for Kurt crooned for Mimì, Amy understood La traviata’s and “yellow peril”. The creative development for this new consultation with elders, and several stages of script and themselves once accepted by the community. pain, Janis sneered at Don G, and Jim loved us all madly work took place over two days, concluding with a preview music development. Dancing the Line uses as its dramatic as we abandoned ourselves to the wonder and intensity of The project’s strong contingent of female artists aligned to industry peers. climax the real-life events of 1968, when gangs of Torres the music. with Opera Queensland’s focus on developing new works Strait Islander railwaymen broke the world record, which This project received financial support from the Australian that place these voices at the forefront. still stands today, for laying track on BHP’s Port Hedland to Government through the Australian Council for the Arts. CREATIVE TEAM Mt Newman line. Concept and Direction Patrick Nolan Three Marys is diverse in its casting and multilingual — CREATIVE TEAM principally in English with translations into French and CREATIVE TEAM Co-Musical Directors Trevor Jones*, Scott Saunders Composer Paul Hodge Arabic, or Aramaic. Artistic Director Luke Captain Costume Design Leigh Buchanan Libretto Michelle Law Script Norah Bagiri, Luke Captain, Ruth Ghee, John Romeril CREATIVE TEAM Director Darren Yap DEVELOPMENT CAST Director Nadine McDonald-Dowd Composer Andrée Greenwell Musical Director James Dobinson Jason Barry-Smith, Rebecca Cassidy, Jessica Low Musical Director Rubina Kimia Libretto Christine Evans Choreography Jeanette Fabila DEVELOPMENT WORKSHOP CAST AND *by arrangement with Queensland Conservatorium Griffith University Workshop Dramaturg Angela Chaplin MUSICIANS Co-producers Paul Brown, Tony Ghee, Joanne Pratt, Choir Director Alison Rogers Irene Feuz Jason Barry-Smith, Chris Connelly, Vivien Emsworth, Cultural Advisers Tony Ghee, Charles Passi DEVELOPMENT WORKSHOP CAST AND Jonathan Hickey, Rachel Kelly, Anna Kho, Louise King, MUSICIANS Eva Kong, Irena Lysiuk, Kenneth Moraleda, Christa Powell, DEVELOPMENT WORKSHOP CAST AND Micheal Al Hajj, Ciavash Arean, Talia Garrett-Benson, Joshua Rivery, Daniel Todd MUSICIANS Jolanta Kudra, Heru Pinkasova, Vocal Manoeuvres Norah Bagiri, Jimi Bani, Daniel Dow, David Dow, Ruth Ghee, Academy Youth Ensemble Benjin Maza, Jalen Sutcliffe, Kristal West

36 37 SONGS TO DIE FOR COMMUNITY AND

For 400 years, death has inspired iconic composers and modern legends alike, REGIONAL ENGAGEMENT with Kurt Cobain, Amy Winehouse and Janis Joplin all writing songs that speak as passionately to us as the music of their operatic counterparts. As Australia’s most decentralised state, more than half of Queensland’s population

A cheeky nod to the over-dramatised deaths of opera’s leading characters masterfully entwined with pop classics, lives outside Brisbane — a fact that drives Opera Queensland’s Learning Regional and Songs To Die For saw three of Opera Queensland’s leading artists hit the road with two brilliant and versatile Community team. musical artists for a 17-date tour of regional and remote venues across the state. With generous support from the Tim Fairfax Family Foundation, Opera Queensland aims to overcome the tyranny of distance experienced by many people living in CREATIVE TEAM regional and remote areas by presenting high quality, live performances. The

Original Concept & Director Patrick Nolan opportunity for our talented artists to perform at unique community experiences, Co-Musical Directors Trevor Jones* and Scott Saunders both regionally and away from the main stage in Brisbane, showcases their skills and Designer Leigh Buchanan 2,088 broadens the reach of opera in the community. TOTAL CAST ATTENDANCE REGIONAL PERFORMANCES UNIQUE COMMUNITY EXPERIENCES Soprano Rebecca Cassidy Opera Queensland artists delighted regional Queensland The company’s High Notes program delivered numerous Mezzo soprano Jessica Low Brisbane audiences and guests at performances throughout 2019, bespoke events during the year. Performances included Baritone Jason Barry-Smith Bundaberg including during the Songs to Die For tour, reaching from National Anthems at the opening night of Brisbane’s Keyboard, percussion, vocals Scott Saunders Cairns Cairns to Windorah to the Gold Coast, and the premier French event, Le Festival, and at QPAC’s annual Keyboard, vocals Caloundra Trevor Jones* spectacular outdoor experience of Opera at Jimbour. Italian National Day celebration. Other performances Charleville Over 800 people picnicked in the glorious surrounds of included the Lord Mayor’s Charitable Trust Thank You Songs To Die For was developed in collaboration with the ensemble. Gladstone the Ballandean Estate for Opera in the Vineyard in May Breakfast at City Hall and a performance at the Women *by arrangement with Queensland Conservatorium Griffith University Gold Coast and were treated to a special program from husband and Chiefs of Enterprises International event. Ingham wife team Rosario La Spina and Milijana Nikolic. Opera Queensland helped bring the Christmas spirit to Innisfail Queensland’s iconic weather made for wonderful the River City with a performance at the Lord Mayor’s Ipswich experiences at Opera in the Vineyard in the Granite Belt Christmas Carols on the Riverstage. A forthcoming and Opera by the Lake in Childers. Longreach partnership with West Village was celebrated with Carols Roma in the Common in December, where residents and the St George local community were entertained with a program of Sunnybank Christmas favourites and encouraged to sing along at this Townsville inaugural event. Windorah Winton

Opera Queensland’s Mark Taylor at the Qantas Founders Museum, Longreach / Photo: Laura Hansford

38 39 (L–R) Trevor Jones, Jason Barry-Smith, Jessica Low, Rebecca Cassidy and Scott Saunders / Photo: Stephanie Do Rozario PATRON His Excellency the Honourable Paul de Jersey, AC Governor of Queensland OPERA QUEENSLAND

OPERA QUEENSLAND BOARD AND COMMITTEE MEMBERS BOARD AND TEAM EMERITUS PROFESSOR KIM CHALLENOR BComm, DAVID SIDDLE BA (Hons), BA, CA / DEPUTY CHAIR PhD, FASSA / CHAIR Director since 2012 HONORARY LIFE MEMBERS OUR TEAM Director since September 2014 Appointed Deputy Chair October The Late James Christiansen oam Artistic Director & CEO Patrick Nolan Appointed Chair October 2018 2018 Deputy Chair August 2016– Treasurer June 2012–May 2018 Lady Jane Edwards am Executive Director Sandra Willis Sir Leo Hielscher ac September 2018 Director of Business and Finance Christine McEwan Member, Audit & Risk Committee Martin Kriewaldt Head of Music and Chorus Director Narelle French Member, HR Committee David Macfarlane oam Director of Development Megan Kair Marilyn Richardson Director of Learning, Regional and Community Dr Nancy Underhill Mark Taylor DAVID GOW BCom (Qld), ANNE CROSS AM BSW, Director of Marketing and Sales Elisha Oatley LLB (Qld), FAICD / MSW, FAICD / DIRECTOR (Until Dec 2019) TREASURER Director since April 2017 Director of Technical Production Ian Johnson Director since April 2018 Appointed Chair, HR Committee COMPANY MEMBERS 2019 Appointed Chair, Audit & Risk November 2019 Artist and Company Manager Erica Fryberg Clare Cauchi Committee May 2019 Member of Audit & Risk Executive Assistant Louise Simmons Kim Challenor Committee until February 2020 Development Coordinator Erin Robinson Roger Cragg Development Coordinator Amy Griffin Emeritus Prof Christa Critchley Learning, Regional and Community Coordinator Monica Collis Anne Cross am Robert Cumming Marketing Campaign Coordinator John Sullivan DANIEL TOBIN BA Visual WILL FELLOWES BComm Teresa Dyson (Until Oct 2019) Arts, DipDramArt (Design) GradDipCA GAICD / Greg Ellis Marketing Campaign Manager Lauren Kelly / DIRECTOR DIRECTOR William Fellowes (Commenced Oct 2019) Director since August 2018 Member of the Audit & Risk Member, HR Committee Committee since September 2016 Dr Colin Furnival Digital Content Coordinator Stephanie Do Rozario Director since July 2019 David Gow (Until Sep 2019) Dr Joan Lawrence am Audience Engagement Coordinator Louisa Sankey Judith Mather (Until Dec 2019) Emeritus Prof David Siddle Head of Wardrobe Karen Cochet Louise Simmons Assistant Head of Wardrobe Bianca Bulley Daniel Tobin JUDITH MATHER GradCert DR COLIN FURNIVAL PhD, Production Administrator Annette Kerwitz Dr Mark Walker (Philanthropy and FRCS, FRACS, GAICD Assistant Accountant Nida Niaz Nonprofit Studies), MBus Chair, Opera Queensland (HR Management), MBus Foundation (Philanthropy and NFP) / Director since December 2009 DIRECTOR (Retired September 2019) Director since September 2019 Member, HR Committee

TERESA DYSON LLB (Hons), BA, MTax, MAppFin, GAICD Treasurer June 2018–May 2019 Chair, Audit and Risk Committee to May 2019 Director since August 2016 (Retired May 2019)

Opera Queensland Board and Committee Members / Photos: Craig Fuller, Geordie Ross-Conley. 40 (Dr Colin Furnival and Teresa Dyson images: Opera Queensland archive) 41 CORPORATE GOVERNANCE Good governance underpins all our activities and is STATEMENT essential to the realisation of our goals. EMERITUS PROFESSOR DAVID SIDDLE, CHAIR, BOARD OF DIRECTORS

Opera Queensland recognises that effective governance is essential to the realisation of Opera Queensland’s purpose, vision and goals.

Opera Queensland also recognises that an effective governance Each director is appointed for a three year term and is eligible for Each member of the Committee is financially literate, and the The Audit and Risk Committee assists the Board with oversight of framework encourages and supports the efficient use of the re-election by company members at the annual general meeting. Committee includes a member who is a qualified chartered the risk management framework with the Board holding ultimate company’s resources and requires accountability from every The company’s constitution provides for maximum tenure, subject accountant and auditor. responsibility for risk management within the company. The person in the company for the stewardship of those resources. The to a grandfathering provision. company continues to enhance the risk management framework, Board of Opera Queensland accepts that it has ultimate The company’s annual financial statements are audited by an informed by a risk appetite statement, and integration of risk accountability for the company’s actions and outcomes, and The Board considers that a diversity of skills, backgrounds, independent external auditor appointed by the Board. The management into key processes, including risk-based decisions in understands that effective governance requires a healthy knowledge, experience, ethnicity, gender and geographic auditor meets annually with the committee independently of strategy and business planning, and the incorporation of a formal organisational culture supported by clear and transparent backgrounds supports good governance. The Board considers management. The auditor’s independence, competence and process for ongoing review and improvement. Continuing work on policies and practices. that each of the directors has the following attributes: sufficient capability is reviewed by the Board. Executive Management the risk management framework is being informed by relevant time to undertake the responsibilities of the role, integrity, and a provides the auditors and the Board with assurance concerning regulations and the Australian / New Zealand standard AS/NZ In developing our governance practices, Opera Queensland has preparedness to question and critique. Alongside these attributes the maintenance of financial records, compliance with accounting ISO 31000:2009 Risk management — Principles and guidelines. had regard to applicable legislation and recognised standards. the skills matrix sets out the mix of skills and experience that the standards, risk management and internal control systems. It also The Board of Opera Queensland is committed to maintaining a Board considers necessary or desirable in its directors. This matrix provides assurance that the financial statements give a true and The company has a Risk Management Plan and a Risk documented and transparent governance framework consistent informs decisions on board size, composition, and renewal. fair view of the company’s performance. The auditor is invited to Management Register that is reviewed by Executive Management with recommended practices provided within the Australia attend the company’s annual general meeting. with reports to the Board. An attestation is provided by Executive Council for the Arts’ Essential Governance Practices for Arts The Board evaluates its own performance annually and assesses Management that material risks are being managed effectively. Organisations. All key governance documents are available on the professional development needs for both Board and Executive 6. ENGAGE WITH STAKEHOLDERS The Risk Register and any risk movement is reviewed by the Audit Management. company’s website at https://oq.com.au/about/governance The Board’s commitment to good governance is, in part, and Risk Committee at every meeting. expressed through the company’s ongoing engagement with 3. ACT ETHICALLY AND RESPONSIBLY 1. LAY SOLID FOUNDATIONS FOR stakeholders. The company uses a range of formal and informal 8. REMUNERATE FAIRLY AND RESPONSIBLY MANAGEMENT AND OVERSIGHT Opera Queensland has a Code of Conduct approved by the communication channels to understand the views of stakeholders The company’s approach to remuneration is framed by the Board. Compliance with the Code of Conduct is a requirement for Opera Queensland has a Board Charter setting out the roles, and to share with them the purpose and work of the company. strategic direction and operational demands of the organisation all directors, employees, contractors and collaborators. The Code responsibilities, structure and processes of the Board of Opera together with high standards of governance. includes a mechanism for identifying and managing conflicts of The company meets formal reporting requirements under the Queensland. It is complementary to and consistent with Opera interest. There is a process of induction for all new Board funding arrangements with the Queensland Government (through A number of principles underpin our approach to remuneration Queensland’s Constitution. The Board Charter and the members, employees, contractors and collaborators where Arts Queensland) and the Federal Government (through the — namely: Constitution are published on the company’s website. company policies and processes are explained. The Code of Australia Council), and engages through other channels, such as • Align remuneration to the company’s purpose and prudent The Board has approved a formal statement of delegated Conduct is published on the company’s website. meetings. risk taking; authority to Executive Management that is reviewed annually by Engagement by the Board and management with members, • Attract and retain capable and committed people; the Board. The development of Opera Queensland’s strategy, 4. PROMOTE DIVERSITY patrons and partners is facilitated through the Annual General purpose, vision and values is an iterative process of co-creation Opera Queensland is committed to promoting inclusive practices • Support the execution of the company’s strategic plan; and Meeting, performances and events, annual report, website, between the Board and Executive Management. The Board and understanding. The company has a Diversity Policy that has season launch, and communication through print and digital • Remunerate fairly and consistently. reviews and monitors the strategic direction of the company, and been approved by the Board and communicated throughout the channels. monitors progress towards achieving relevant goals, key company. Workplace diversity is an integral part of how we The Board approves the remuneration of Executive performance indicators and outcomes set out in the strategic and operate and is imperative to our success. The company recognises The company’s supporters are acknowledged at company Management following recommendations by the HR operational plans. the need to respect individual differences and strive for a truly performances and events, and in our print and digital Committee. The company has a formal process for employee inclusive workplace where every person can contribute to the publications. performance evaluations and remuneration reviews. 2. STRUCTURE THE BOARD TO ADD VALUE endeavours of the company. Measurable objectives for achieving The Opera Queensland Board comprises seven independent diversity will be included in the company’s strategic plan. The Opera Queensland plays an important part in Queensland life, Members of the Board are not remunerated. non-executive directors who provide their time and services on a Diversity Policy is published on the company’s website. and engages with Queenslanders though our performances, The Board of Opera Queensland provides oversight of the voluntary basis. In addition to formal board meetings, the Board school programs, workshops, collaborations, and social media. company’s remuneration and performance management meets with stakeholders and Executive Management. The Board 5. SAFEGUARD INTEGRITY IN ALL The company seeks to broaden and deepen community frameworks. No member of management makes decisions about is supported by two standing committees; namely, the Audit and FINANCIAL REPORTING engagement. their own remuneration. Risk Committee and the HR Committee. Each committee has a The Audit and Risk Committee is a standing committee of the charter, which is published on the company’s website, and Board, operating under a charter and delegated authority from 7. RECOGNISE AND MANAGE RISK operates with authority delegated by the Board. There is a clear the Board. The Committee has oversight of the company’s The Board and Executive Management of Opera Queensland division of responsibility between the role of the Board and the budgets, financial statements, and other financial information recognise that a sound risk management framework is critical to role of management. provided to government, financial institutions, company members effective management of the company. An effective risk and the community. The Committee also oversees the company’s management system identifies and manages potential risks in a The HR Committee assists and advises the Board by providing an systems of internal control, and the appointment of auditors and continuous, proactive and systematic way through an integrated objective non-executive review of the remuneration of staff and of the audit process. application of risk management processes across all facets of our all policies relevant to remuneration and HR matters. The role of operations by all levels of management. the Audit and Risk Committee is described in section 5. 42 43 FINANCIAL REPORT STATEMENT OF COMPREHENSIVE INCOME BALANCE SHEET FOR THE YEAR ENDED 31 DECEMBER 2019 2019 2018 AS AT 31 DECEMBER 2019 2019 2018 $ $ $ $ REVENUE FROM OPERATIONS CURRENT ASSETS

Event Income 1,530,660 2,253,455 Cash and cash equivalents 1,322,025 723,011 Sponsorships & Donations 1,868,034 778,663 Trade receivables and other assets 530,857 373,171 Other Income 202,511 167,757 Total Current Assets 1,852,882 1,096,182 Grant Income NON-CURRENT ASSETS Queensland government Property, plant and equipment 781,923 650,738

Operational grant 3,291,770 2,855,220 Other investments 200,000 - Project funding 197,878 368,531 Total Non-Current Assets 981,923 650,738 Other grants 100,000 100,000 Total assets 2,834,805 1,746,920 Opera Conference funding 56,687 55,904 CURRENT LIABILITIES Federal government Trade and other payables 117,895 228,560 Operational grant 562,391 434,833 Employee benefits 145,538 114,948 Project funding 24,683 - Other 488,385 745,002 Opera Conference funding 237,616 233,874 Total Current Liabilities 751,818 1,088,510 Local government 4,000 30,000 NON-CURRENT LIABILITIES Total revenue from operations 8,076,230 7,278,237 Employee benefits 29,497 - Financial income (interest and dividends received) 6,656 12,657 Other 96,218 - Revenue from non-operating activities 200,000 - Total Current Liabilities 125,715 - Total revenue and other income 8,282,886 7,290,894 Total liabilities 877,533 1,088,510 EXPENDITURE Net assets 1,957,272 658,410 Production & Touring 4,475,471 4,669,445 ACCUMULATED FUNDS Community Programs & Education 193,072 207,085 Subordinated loan 200,000 200,000 Marketing & Business Development 1,136,271 984,369 Donation and Endowment Reserve 824,018 - Infrastructure & Administration 1,180,723 1,220,489 Restricted Reserve 400,000 - Total expenditure 6,985,537 7,081,388 Accumulated surplus 533,254 458,410 Net surplus 1,297,349 209,506 Total accumulated funds 1,957,272 658,410 Other comprehensive income attributable - - to members of the company Total comprehensive income attributable to members of the company 1,297,349 209,506 STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2019 2019 2018

The above statements should be read in conjunction with the notes and summary of significant accounting policies. This is an extract from the 2019 $ $ audited Financial Statements. The full version of the Financial Statements can be found on the Opera Queensland website. CASH FLOW FROM OPERATING ACTIVITIES

Cash receipts from customers and grantors 7,667,182 7,196,993

Cash paid to suppliers and employees (6,815,203) (6,661,892) Interest Received 16,281 12,657 Net cash from operating activities 868,260 547,758 CASH FLOW FROM INVESTING ACTIVITIES Contributions to Reserve Incentive Scheme (200,000) -

Acquisition of plant and equipment (33,312) (21,282) Net cash used in investing activities (233,312) (21,282) CASH FLOW FROM FINANCING ACTIVITIES Payment of lease liabilities (35,934) -

Net cash used in financing activities (35,934) -

Net increase in cash and cash equivalents 599,014 526,476 Cash and cash equivalents at 1st January 723,011 196,535 Cash and cash equivalents at 31st December 1,322,025 723,011

The above statements should be read in conjunction with the notes and summary of significant accounting policies. This is an extract from the 2019 44 audited Financial Statements. The full version of the Financial Statements can be found on the Opera Queensland website. 45 ENRICHING LIVES WITH Thank you to our generous partners for supporting our quest for artistic excellence. EXCEPTIONAL PARTNERSHIPS GOVERNMENT PARTNERS

At the heart of all our strategic partnerships is our shared vision to deliver meaningful experiences that inspire with world class performances, connecting people through the power of opera.

Opera Queensland continues to build valuable relationships with an important group of cultural and industry partners. These partnerships enable our mutual aspirations to present exciting works of scale, create new interpretations of the art PHILANTHROPY PARTNERS form and connect with audiences in new and compelling ways.

Our partnerships with Griffith University, Scenic and Brisbane Airport Corporation took opera from the theatre into unique performance spaces to connect with new networks and communities across Queensland who would not normally experience this art form. Partnerships like these contribute to our ability to grow new audiences.

Our venue and hospitality partners across the South Bank precinct and throughout Brisbane enabled Opera Queensland to expand our important suite of strategic engagement events. We also thank and acknowledge a significant group of MAJOR PARTNERS corporate partners who provide professional expertise. This in-kind support delivers technical, IT, auditing and legal services that are vital to the operations of the company.

SUPPORTING PARTNERS

Tosca post-show celebration at the Emporium Hotel, South Bank / Photo: RDW Photography

PERFORMING PARTNERS

46 47 Opera Queensland Ltd ABN 83 010 258 750

Queensland Conservatorium Building 140 Grey Street, South Bank PO Box 5792 West End Qld 4101

T 61 7 3735 3030 E [email protected] oq.com.au